A Very Late List of Top Film & TV of 2019

Spoilers.

Last year, I published a top ten list in late February. This year, I’m writing one in January. Maybe next year, I’ll complete one on time.

This list combines film and TV entries. Is this wise? No. Despite how much they share, film and television are separate, distinct. However, this is my blog, so I get to make poor decisions (which explains #13). And by mixing movies and shows, I can write about more things I love.

So without further ado, let’s get started.

Actually, let’s not. First, honorable mentions:

Cold Pursuit, Dolemite is My Name, For Sama, Honeyland, I Lost My Body, Jumanji: The Next Level, Klaus, The Standoff at Sparrow Creek, Star Wars: The Mandalorian, Stranger Things

15. Watchmen (Dameon Lindeloff)

With spectacular action, Watchmen trilled like no other work last year. During a three episode run, from “Little Fear of Lightning” to “An Almost Religious Awe,” the show’s characters riveted like few others on screen. And sadly, with a tidy finale, Dameon Lindeloff’s program disappointed like nothing else that flirted with excellence in 2019.

14. Little Women (Greta Gerwig)

Greta Gerwig’s choice to tell the familiar story of the March sisters in nonlinear fashion proved a mixed blessing. The structure undercut the most enthralling part of other adaptations: the family home scenes, which felt dense with information and dialogue. However, the benefits of her change outweighed the costs. The elements of other adapted Little Women that have felt forced and underdeveloped seemed richer and more complex, as Gerwig dove into the Marchs’ adult lives. With more time spent on this period, sensitive direction of performances, and sharp cutting, Gerwig captured the aching pain characters endure as innocence slips away while honing in on the imperfect peace they discover when they mature.

13. Star Wars: Episode IX-The Rise of Skywalker (J.J. Abrams)

Sloppy and rushed, J.J. Abrams’ Rise of Skywalker suffered from ending a mediocre trilogy. Yet even though Abrams’ challenging position sabotaged brilliance, it delivered a gift. Watching him race to create something entertaining injected a spark of life into the Skywalker saga. Most importantly, however, Abrams contributed something new to George Lucas’ creation. He focused on how a character trapped in a whirlwind of darkness, Rey, can overcome it by choosing her identity as a nobody instead of her bloodline.